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Jazz Articles about Jeremy Pelt

242
Multiple Reviews

Jeremy Pelt: November & Chillin' Live

Read "Jeremy Pelt: November & Chillin' Live" reviewed by Jim Santella


Jeremy Pelt November MaxJazz 2008 Pete Zimmer Quartet Chillin' Live Tippin' 2008

After a century of development that has involved splitting off into varied branches, each with its own complement of dedicated listeners, straight-ahead or mainstream jazz has continued to move forward with the help of young lions eager to forge their own pathways. One such trailblazer is trumpeter Jeremy Pelt ...

500
Album Review

Jeremy Pelt: November

Read "November" reviewed by C. Michael Bailey


In the same way that Roy Hargrove's Earfood (Emarcy, 2008) updated Lee Morgan's Cornbread (Blue Note, 1965), so Jeremy Pelt's November updates Miles Davis' Miles Smiles (Columbia/Legacy, 1966). If creativity and art can be evaluated on both the vertical and horizontal, Morgan's and Davis' offerings represent horizontal progressions of the art of jazz into new areas, where Hargrove's and Pelt's are vertical elaborations of those previous collections.

Jeremy Pelt (with his band WiRED) last offered Shock Value: Live at Smoke ...

1
Album Review

Jeremy Pelt and Wired: Shock Value: Live at Smoke

Read "Shock Value: Live at Smoke" reviewed by AAJ Italy Staff


Jeremy Pelt è un trombettista poco più che trent’enne che si sta facendo largo nella turbolenta scena musicale newyorkese. Questo album registrato dal vivo allo Smoke ne conferma le doti tecniche e la capacità di muoversi guardando bene avanti, senza dimenticare di dare ogni tanto un’occhiata allo specchietto retrovisore. Accompagnato da un torrido Al Street alla chitarra, da un turbolento Frank LoCrasto alle tastiere (prevalentemente organo Hammond e piano elettrico Fender) e dai due ritmi Gavin Fallow e Dana Hawkins, ...

423
Album Review

Jeremy Pelt and Wired: Shock Value: Live at Smoke

Read "Shock Value: Live at Smoke" reviewed by C. Michael Bailey


Imagine a sacred Shinto sand garden beautifully divided up into all of the genres of jazz, rock, and blues. Interconnections between the genres and subgenres are carefully documented, after having been fully researched and verified. Now visualize trumpeter Jeremy Pelt dragging his horn through this garden, marginally alongside a similar set of tracks left by Miles Davis thirty-five years ago. This provides a visual image of Jeremy Pelt and his band WiRED at their March 21-22, 2007 appearance at New ...

208
Album Review

Jeremy Pelt & Wired: Shock Value: Live at Smoke

Read "Shock Value: Live at Smoke" reviewed by Jim Santella


Born to play the blues and raised on jazz's most recent personality changes, Jeremy Pelt brings fire and passion to his audience while tempering each stroke with the improvisational tools that have grown out of tradition. The trumpeter's wah-wah comments, his low moan caresses and his dizzying romps through bebop heaven gather up a hundred years of jazz into one big picnic basket filled with seasonal delights. This appearance at New York City's Smoke features six of the leader's original ...

211
Album Review

Jeremy Pelt: Identity

Read "Identity" reviewed by Tom Greenland


Jeremy Pelt is a man in search of himself and a sonic identity that will enshrine him in the pantheon of trumpet greats. For the young lions and lionesses of jazz, this is a daunting task, given the hordes of spirits-of-jam-sessions-past that haunt the hallowed halls of jazzdom. Certainly Pelt is a contender: his tone and technique are equal to that of Lee Morgan and Freddie Hubbard, two noticeable stylistic influences, and his harmonic conception and compositional flair call to ...

585
Interview

Jeremy Pelt: From Classical, Perhaps One Day to Classic

Read "Jeremy Pelt: From Classical, Perhaps One Day to Classic" reviewed by R.J. DeLuke


Trumpeter Jeremy Pelt, all of 28 years old, with a commitment to music and a world of talent, appears to have a bright future. He is creative and his trumpet work is both facile and strong-toned. He's willing to work hard and keep developing. How is it he could almost be pigeonholed into being “soft" because of one album done with a background of strings? He says that did happen to him for a bit, but ...


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